The China-Europe-America Museums Cooperation Initiative concluded its 4th Dialogue on May 23, 2024, with a closing ceremony held at the Tianjin Museum. Seven international guests synthesized the key takeaways from the two-day discussions. They emphasized that in the face of various challenges in reality, achieving creativity in museums requires the collective effort of all of us.
David Gosset, Founder of the China-Europe-America Global Initiative
We are now holding the closing ceremony, but this is a non-closing closing ceremony because we don't want to stop anything; we just want to continue the process of dialogue. At the same time, I would like to thank all the young people from different universities for their presence. We have discussed the future of museums and libraries, and as the youth, you are a part of this future.
Jiaxin Xiong, First Prize Winner of the 2024 C.E.A. Youth Program International Communication Challenge
It takes time to be creative. We can never rush to new ideas. Let's imagine a life on the fast lane, it is way too easy to be caught in a daze. Therefore, the effort of physically going into a museum means reconnecting to a real yet distant world, a world that we may not yet be very familiar with, but that shares the same root and memories of humanity.
William Hua Wang, Dean of emlyon business school Asia
The AI era necessitates the realization of four Rs for museums to experience a springtime. The first "R" is "Refuge", meaning the museum's space needs to become a sanctuary for the human spirit. The second "R" is "Reflection", meaning self-reflection. The third "R" is "Resource", which involves thinking in resonance. The fourth "R" is "Release", signifying a new round of co-creation of human wisdom.
Joan McEntee, Former Vice Secretary of the US Department of Commerce, Board of Trustees, China-Europe-America Global Initiative
Art is not just a cultural asset for a museum; it also can be a significant financial asset that holds value in the global marketplace. Investment in art has become increasingly popular as a way to diversify and protect against economic downturns and potentially achieve substantial returns. This investment could also be immensely beneficial to museums.
Marco Biscione, President of the Scientific Board of the Museum of Cultures, Lugano, Switzerland
Why do we run museums, and for whom do we operate museums? We run museums for the public, but museum professionals often forget this point. I have extensive experience working with scholars and archaeologists who think that museums are not for the public but for themselves or their colleagues. However, the relationship between museums and the public and audience is fundamental.
Yang Yao, Director of Tianjin Museum
Museums are preservers of precious cultural heritage, which is the individuality of museums. At the same time, they need to transmit culture and educate the public, which is their commonality. How do we seek a balance between their commonality and individuality? This balancing act isn't just about creativity; it's a constant challenge in all museum work.
Zhuo Li, Deputy Director and Party Group Member of the Tianjin Municipal Bureau of Culture and Tourism
A museum is a city's cultural emblem. As the preservers and recorders of history, museums are regarded by many as the soul of a city. We welcome cultural and museum institutions from home and abroad to engage in more exchanges and cooperation with the Tianjin Museum in the future. We also extend a warm invitation to everyone – open the doors of the Tianjin Museum, step into Tianjin, learn about Tianjin, and fall in love with Tianjin.
